Rendimiento Por Cuadrilla de Las Principales Actividades

9 WATERMEDIA WINNERS REVEALED
Water lor
ARTISTSNETWORK.COM
Earth,
Sea, Sky The BEST
(and WORST)
+
Things That
All the Color Secrets Happen When
You Should Know Painting
Outdoors
p. 48
OUT AFTER DARK

Your Guide for
Plein Air Painting 25th
at Night Anniversary
1993-2018
JUNE 2018
Paint Roses!
A STEP-BY-STEP DEMO
FOR A FLORAL FAVORITE Autumn, New
Mexico (detail; 16x28)
by Tom Perkinson
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JUNE 2018
25 th
Anniversary
1993-2018
Features
21
EARTH, SEA & SKY
A plein air enthusiast offers tips
for capturing the colors of these
landscape essentials. Plus, what
to pack for painting on location.
BY CATHERINE GILL
30
KEEPING THE TOP
OF YOUR HEAD OPEN
Tom Perkinson, of New
Mexico, turns to his memory
and imagination to depict
the landscape he loves in
mixed-media watercolors.
BY JOHN A. PARKS
38
BRIGHT IDEAS
Ron Stocke offers tips and
advice for painting on
location after dark. 40
BY ANNE HEVENER
40
FLORAL ARRANGEMENTS BURNING QUESTION
48 50
9TH ANNUAL WATERMEDIA
Thai artist Adisorn Four artists share some of the SHOWCASE
Pornsirikarn demonstrates his best (and the worst) of their We're pleased to share these nine
secrets for painting flowers. plein air adventures. standout talents in watermedia.
BY ISABELLE V. LIM COMPILED BY ANNE HEVENER BY ANNE HEVENER
ArtistsNetwork.com 1
JUNE 2018
Columns
4 EDITOR’S NOTE
6 HAPPENINGS
A portrait project brings
together two artists on
two different continents.
BY MCKENZIE GRAHAM
10 CREATIVITY
WORKSHOP
A unique crystal-powdered
paint offers an exciting
option for adding colorful
flair to your work.
BY WARD JENE STROUD
16 ANATOMY OF
A PAINTING
Take a deep dive into
a romantic Venetian
landscape in watercolor
by John Singer Sargent.
BY JERRY N. WEISS
62 WATERCOLOR
ESSENTIALS
Learn how to simplify
values and translate them
10 62
into sketches to strengthen
your compositions.
BY PATTI MOLLICA
72 OPEN BOOK ON THE COVER

Your drawing subjects 9 Watermedia Winners
needn't be profound. Use Revealed 50
your sketchbook to
Earth, Sea, Sky: All the Color
capture the attractions
of everyday life. Secrets You Should Know 21
BY DANNY GREGORY Out After Dark: Your Guide for
Plein Air Painting at Night 38
Paint Roses! A Step-By-Step
Demo for a Floral Favorite 40
The Best (and Worst) Things
That Happen When Painting
Get Social Outdoors 48
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Editor’s Note Watercolor
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t he Great Pyramid of Giza. he

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Happenings
ABOVE LEFT
Study of Ibe Ananaba
(watercolor on paper, 15x11)
/ MAKING A SPLASH / ABOVE RIGHT

Study of David Lobenberg
David Lobenberg
In the sometimes overwhelming, Lobenberg (of Sacramento, Calif.) was a fan of portraiture. He had started
detached world of social media, connected with Ibe Ananaba (Lagos, another online project several years
making a real connection can— Nigeria), and a genuine, international ago. “On my blog, I asked artists from
perhaps ironically—seem diicult. friendship was born. all over the world to send in a self-por-
And yet, Pinterest and Facebook were “Ibe suggested we collaborate on a trait, and entitled the project “Global
the vehicles through which David watercolor project together,” says Self-Portrait Love-In”—a nod to my
Lobenberg, “and I responded that we generation—but with this [new] proj-
could share a photo reference portrait ect, we’re keeping it one-on-one.”
Art, generally, is
“
of someone and each do a watercolor Lobenberg and Ananaba exchanged
interpretation of it. Ibe suggested photos and practiced doing studies of
a powerful tool of painting each other. Bingo!” Ananaba the other one. “He sent me a variety of
communication and felt painting each other instead of a
random model would result in a more
face-making photos, which added fun to
the whole exercise,” says Ananaba. “he
bonding, irrespective meaningful exchange. Ananaba says, white beard has been a major pull.”
“We both got to study each other’s What’s the takeaway? Ananaba says
of age, location, personality and appreciate our pecu- he’s learned that “art, generally, is a
tribe or race.
”
liarities, diferences and similarities.” powerful tool of communication and
It didn’t take a lot of convincing to bonding, irrespective of age, location,
— IBE ANANABA get Lobenberg on board. He’s already tribe or race.”

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Happenings
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/ MUST-SEE SHOW /
Viennese Watercolor
THE ART OF THE VIENNESE WATERCOLOR
The Albertina, Vienna, Austria
Through May 13
Including a mix of the Albertina’s own collection and loaned

artworks, “he Art of the Viennese Watercolor” presents
important works by artists such as Jakob Alt, homas Ender,
Peter Fendi and Rudolf von Alt, whose work in watercolor
spans a 70-year period.
“Transparent lightness, brilliant colors and a generally atmo-
spheric impression are the special qualities of 19th-century
Viennese watercolor painting,” the museum’s website explains.
“Virtuosic city views and landscapes, detail-rich portraits, genre
IMAGE COURTESY OF THE ALBERTINA
paintings and floral works comprise the rich motivic repertoire

featured in this glorious blossoming of Austrian art.”
If you can’t make the show, enjoy the online image gallery
of 19 paintings included in the exhibition on the museum’s
website, and listen to a one-minute long from the English Der Dachstein im Salzkammergut vom Vorderen Gosausee
audio guide. WA (watercolor on paper, 16½x204⁄5) by Rudolf von Alt
albertina.at/en
Creativity Workshop
Sprinkle It On
Add colorful flair to your art with crystal powdered paint. By Ward Jene Stroud
y ou never know when life is

going to surprise you. For me,
it was just another typical
Thursday evening, and I had
decided to drop by my local art con-
I’ll never forget the moment
I saw the total color-pocalypse he
created when he sprinkled some little
crystals onto wet paper. It forever
changed my art trajectory.
Sweet Turtle Medicine (Brusho
and watercolor on paper, 11x15)
was one of my first Brusho
paintings. I began with the
drawing, dampened the entire
paper and sprinkled a hodge-
sortium—the Oregon Society of podge of Brusho colors over it.
Artists—for its bimonthly demonstra- BRUSHO BASICS After the surface dried, I used
dark values to “cut out” the
tion. he demo that particular evening hose little crystals were Brusho, shapes. I added calligraphic
was a kind of “catch as catch can,” as a nontoxic ink and dye-based crystal lines on the shell as a finishing
the presenter was the owner of a small powdered paint. (hink fabric dye and touch. This painting is still one of
local art store who had just returned phthalo watercolors.) my all-time favorites.
from a big art supply trade show with Although Brusho has been available
new products and items to share. in Europe for almost 40 years, the

vibrant, translucent watermedia is rel- ochre. his product will last you for Wet-on-dry: Add the powder crys-
atively new to the United States. Made what seems like forever. I’m still using tals to water in a receptacle, blend and
by Colourcraft Limited and exclusively some from my irst set, and I’ve done apply the paint to dry paper. Paint as
manufactured in Sheield, England, hundreds of paintings and demos. you would with watercolor. his tech-
the paint is available through several he word is spreading about this nique is perfect for high-contrast, hard
online retailers, including Cheap Joes exciting product; I’ve seen more and lines and intense color, and it produces
(cheapjoes.com) and, quite possibly, more artists incorporating the crystals a more controlled, tighter feel.
your local art store. into their work. You’ll also ind Brusho Dry-into-wet: Apply water to
he paints, which are available in Facebook pages, websites and YouTube paper or a multimedia surface and
32 highly concentrated colors that videos, as well as books and DVDs. then sprinkle the powder onto it.
come in plastic 1½-inch pots, are sold Using more water will enable the color
separately for about $5 each or in HOW DO YOU USE IT? to spread and migrate; keeping the
packs of six, eight and 12 colors for Basically, the tried-and-true tech- paper less damp will produce sharper,
between $30 and $80. he colors are niques of watercolor—wet-into-wet, more-deined textures. To retain indi-
recognizably named, such as alizarin wet-on-dry and dry-into-wet—are vidual colors and textures, blot with
crimson, ultramarine and yellow still in order, although new ideas are a tissue or arrest blending with a hair
being created every day. dryer. If left to blend while drying,
Here’s a cornerstone of my Brusho the colors will become a more homog-
experience that I’ve shared with my enized solid color.
Quick Tip students over and over: It’s diicult to
control the powder; however, you can
Keep in mind: As with any ink,
dye or staining paint, lifting color can
After you purchase the control the water. If you want softer be diicult, but not impossible. If you
containers, poke a little hole colors, use more water. For a more need a soft edge, it’s best to loosen it
in the top of each with a
small nail or other pointy deined texture, just use less water. the instant you put it down.
object for dispensing. Using Wet-into-wet: Add the powder Regarding lightfastness: Inks
color-coordinated push pins crystals to water in a receptacle, and it and dyes, by their very nature, aren’t
is clever, as it keeps the will turn to liquid. Use it as you would as lightfast as some other media, so
holes plugged and the pots a tube paint, and then add it to your Colourcaft recommends using UV
identified by hue. pre-wetted surface for a gradated, coatings such as sprays and ultraviolet
liquid-soft efect. glass or coverings.
I painted That Old

Tractor (Brusho and
watercolor on paper,
15x22) almost like
I might paint foliage,
except I used a
heavily pigmented
gray (cerulean blue
and cadmium red
light). I laid down the
first wash with
Naples yellow and
burnt sienna for
some sunny spots—
and to create a focal
point with a strong
patch of light. I let
the first wash dry
before moving on
in order to preserve
that sunniness.
Creativity Workshop
Brusho has been used in Europe I placed a water

for more than 35 years, and I’ve never wash over the entire
image as a surface
heard a complaint about fading from for the bird in Coat of
the artists who have used it. My pri- Many Colors (Brusho
vate collection of paintings still looks and watercolor on
as vibrant as the day I painted the paper, 30x22). I then
mixed ultramarine
works, even though some have hung
blue and burnt
in sunlit rooms for years. sienna for the darks
and shadows. Next,
EASY DOES IT I placed a little
here are many ways to deliver the cerulean blue and
turquoise “neat”
particles onto the paper, but I’ve here and there for
found that using a piece of scrap shadow interest. The
paper works really well. plumage colors were
I’ve learned irsthand that it’s easy entirely spontaneous.
to “blow out” a painting by sprinkling
or shaking too much powder directly
from the pots onto the painting sur-
face. By using the scrap paper as a
delivery vehicle, I’m able to sprinkle
and distribute the crystals in a more
intentional manner.
I also use the paper as a palette
on which to blend several colors
to create a custom color, much like I’d
mix tube paints together on a palette.
Experimenting with a new-to-you
product may be just the spark of
inspiration your art practice needs.
Whether you use Brusho as an accent
or as the primary medium for an Danny’s Taunt (Brusho
entire painting, enjoy the process and watercolor on
paper, 22x15) features
of exploration. a clear water wash
and controlled crystal
delivery. These were
followed by tube colors
Quick Tip in burnt sienna and
burnt umber for the
Although Brusho is darker values. It’s all
nontoxic, because topped off with some
it’s in a powder form, palette knife work on
I recommend using it in thickly laid greens in
quinacridone gold and
a well-ventilated room.
phthalo blue that
causes the stalks to
layer interestingly.
I finished by spraying
the background with
clear water to find
some migrant particles
that add a nebulous
effect. See this painting
in action at bit.ly/
brusho_dannystaunt.

demo
Using
Brusho
S
Step 1 Step 2
I created a loose sketch on Fabriano hot-pressed paper— By tapping the crystals from a piece of scrap paper,
I’ve found that the Brusho particles move a bit better on I sprinkled on a Brusho mixture of turquoise, brilliant
its smooth finish—and applied masking fluid and tape for red, purple and leaf green. Once the crystals hit the
dramatic highlights along the top of the body, eyes, legs and water, they created color bursts everywhere.
right front wing. I applied a clear wash of water wherever
I planned to place the Brusho colors.
Step 3 Step 4
The eye is the focal point of this painting. To make it “pop,” I used a rigger brush to add veins to the wings, legs and other
I used quinacridone gold for the main color while carefully areas. It’s worth noting that when I painted the legs under the
avoiding the highlight at the top. I used alizarin crimson wing and the background leaf, I didn’t “start and stop” at the
“neat” on the edges for strong contrast— border of the wing, but painted right through it. Then, using a
and to give the eye a 3-D effect. tissue, I lifted off the painted line inside the wing quickly to
create a more gossamer see-through effect.
Turn page to see the finish
demo
Using
Brusho
Final
Fly Dragon (Brusho and watercolor on paper, 15x22)
To see this painting in action, watch my
YouTube video at bit.ly/brusho_flydragon. WA
Try this at home
Ward Jene Stroud (artofward.com) is a workshop instructor
who shares his Brusho technique across the country; check
CREATE A PAINTING
out his website for his list of upcoming national workshops. USING BRUSHO.
His videos can be found on his website and on YouTube. Send a JPEG (with a resolution of
72 dpi) of your finished painting
to wcamag@fwmedia.com with
“Creativity Workshop” in the subject
line—or follow @artistsnetwork on
Instagram and share your painting
there: #everywatercolor. The “editor’s
choice” will receive a Brusho 12-color
combo pack and a Ward Jene Stroud
instructional DVD. The entry deadline
is June 15, 2018.

Anatomy of a Painting
Venetian The artist laid in the

sky with a blue wash,
Canal
slightly lighter at the
horizon. Its unadorned
expanse is a clean
counterpoint to the
jumble of Venetian
architecture and
Experience the painterly romance of reflections.
Venice from JOHN SINGER SARGENT’s
gondola-level perspective.
By Jerry N. Weiss
b est known for his bravura

oil portraits, John Singer
Sargent (American, 1856-
1925) was equally accomplished as
a watercolor painter. He often chose
Venetian Canal (1913;
watercolor and graphite
on paper, 15¾x21) by
John Singer Sargent
the medium for quick landscape
studies on his travels, a practice that
began when, as a child, he accompa-
nied his parents on picturesque trips
across Europe. and 1913. He turned out watercolors
Art historian Barbara Dayer Gallati like Venetian Canal with what appears
succinctly explained Sargent’s talent: to be customary efortlessness,
“In essence, the secret of Sargent’s delighting in the proximity of archi-
success as a watercolorist was his tecture and water seen under a limpid
ability to achieve a rare and exquisite blue sky. hese visual travelogues
balance between painterly freedom were an escape from commissioned
and discipline, both of which could portraiture. People, when included
come only from years of looking at all, are distant presences denoted
and painting.” by a few flicks of the brush.
Sargent’s watercolor studies found hroughout Venetian Canal, one
their most brilliant expression in inds evidence of Sargent’s “exquisite
Venice, a city that by the late 19th balance between painterly freedom
century had become an immensely and discipline.” WA
popular destination for artists.
Sargent irst visited Venice in the Jerry N. Weiss is a contributing writer
early 1880s, and made it a regular for fine art magazines and teaches at the
stop on his itinerary between 1898 Art Students League of New York.
The viewpoint suggests
that Sargent was seated in
a gondola. He did, in fact,
paint many of his Venetian
watercolors from this
unique vantage point.

Sargent’s watercolors may seem For the buildings on the left, Sargent painted
improvised, but he often began them architectural details wet-on-dry for greater control
with a light pencil notation. One can and to create sharp edges where light and shadow
see traces of the initial drawing of interact. In the buildings on the right, Sargent painted
architectural elements, as in the the windows wet-into-wet, so the shapes bleed and
contours of the distant church tower. read less distinctly within the shadows.
METROPOLITAN MUSEUM OF ART
PURCHASE, JOSEPH PULITZER
In a passage just right of center, a series of Sargent understood linear perspective.

crisp horizontal strokes indicate a slight The powerful diagonals on each side of the
BEQUEST, 1915/THE
disturbance of the water’s surface. Despite painting lead the eye to a stopping point:
the apparent freedom of their application, the church tower. In the middle distance,
the reflections correspond closely to the a bridge spans the canal and serves as an
shapes and colors they reflect. important compositional device.
Live an Artful Life
From meditations in the studio to trending colors, urban sketchers and Renaissance
masters, Artists Network connects you with the artists, ideas, inspiration, and skills
that encourage art making and living an artful life.
Artistsnetwork.com
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TIME O
ED F INDEPENDENT ART HISTORIAN
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70% 1.
2.
Greatness in Painting
The Majesty of Duccio and Giotto
off 3. Acts of Faith—Masaccio,
7
RD Van Eyck, Van der Weyden
Y
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4. The Diversity of Piero, Mantegna, Botticelli
5. The Devotion of Bellini, Geertgen, Dürer
6. Masterworks by Leonardo, Raphael, Correggio
7. Great Ensembles—Michelangelo and Grünewald
8. Ideal and Real—Giorgione, Titian, Holbein
9. Living and Dying—Bruegel, El Greco, Caravaggio
10. Life Stories by Ter Brugghen, Rubens, Steen
11. Inside Vermeer, Velázquez, Rembrandt
12. Spirit and Thought—Hals, Rembrandt, La Tour
13. The Serenity of Poussin, Claude, Watteau
14. In Contrast—Chardin, Tiepolo, Gainsborough
15. Dark Images of David, Goya, Friedrich
16. The Worlds of Constable, Turner, Delacroix
17. Dark to Bright—Courbet, Church, Monet
18. Alone and Together—Whistler, Degas, Renoir
19. Unlike Any Other—Sargent, Manet, Seurat
20. Close Observation—Cézanne, Van Gogh, Homer
21. The Human Condition—Munch, Matisse, Schiele
22. Art in Time of War—Monet and Picasso
What Are the World’s 23. Time and Memory—Magritte, Hopper, Gorky
24. Expressive Abstractions—Pollock and Hofmann
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EARTH,
SEA & SKY
WHEN IT COMES TO PAINTING THESE USUAL SUSPECTS IN THE LANDSCAPE,
THE KEY TO CAPTURING COLOR BEGINS WITH THE LIGHT.
By Catherine Gill
I
do plenty of studio painting, but I really enjoy painting the landscape en plein air when- Vashon Sky
ever I can. I like what happens with the ideas that are generated when I’m out there. (watercolor on
paper, 7½x11)
Working on location provides a depth of experience that expands my skills and my mind.
he lessons I’ve learned about the changes in color and value in the landscape stem
from my plein air experience. he beneit of having the opportunity to observe—to really
see the efects of the light irsthand—is unmatched.
FIRST UP: PLEIN AIR
PAINTING GEAR
To paint outdoors, I carry
everything I need in a back-
pack. I use a larger setup when
I’m working in the ield on a
quarter sheet of watercolor
paper. And, I carry a smaller kit
for the times when I’m sitting
under a tree, by a creek,
in the snow or in a kayak.
up,
This is my larger setu
which I carry into the
field in a backpack.
Tool Kit Basics

To paint outdoors, I carry
a backpack that contains
the following:
• A tripod easel with a board
that attaches to the easel
• A lightweight board that
attaches to the easel and
When I’m on the go,
I carry a smaller kit.
serves as a shelf for holding
my palette, water and tools
• A folding palette (with large
mixing areas) that holds
about 20 watercolor paints
(which I carry in a bag)
• 140-lb. watercolor paper
(quarter sheets). I use cold-
pressed paper if I’m doing
straight watercolor, and
hot-pressed paper if I’m
using mixed media.
PHOTOS COURTESY OF CATHERINE GILL
• 3 brushes
• 2 small yogurt containers
(and water)
• Pastels, pastel pencils and
other drawing materials
• A sketchbook
• A folding stool
22 Watercolor artist | J UNE 2018

CONSIDERING COLOR ...
AND VALUE
Take a look outside, and you’ll see earth, sky and—in some
cases—sea or fresh water. hey’re the usual cast of charac-
ters in a landscape. Now look again, and notice the
direction of the light. Is it coming from the right side? he
Color Change vs.
left? From above? It’s important to determine, because
you’ll ind, for instance, that if the light is hitting one side
of an object, there’s a color change—not just a value
Value Change
change—across that shape from its lit side to its unlit side.
he light source will loan its light to the part of the
shape that the light hits, or is closest to. It also will loan
the color of that light to the object. So, when you’re out-
doors and the light source is the sun, for example, it will
loan its yellowness to the color of the object, creating a
natural warm-to-cool color change across the object.
You can capture this color change immediately in the A B
irst application of paint. First, take a look at the object,
then go to your palette and select a paint that’s close in color In tree foliage A, the light is coming from the
and value. hen, take a yellow (or a hue warmer than your right, so there’s a color change from yellow-green
irst choice) and place both colors on your palette about 3 to to green to blue-green, but the values are close.
4 inches apart, and then mix them into a gradated trail (as Tree foliage B shows the same color change, but
there’s too much value change, which breaks
seen in the photo below). Within that mixing trail will be the apart the shape.
desired color change.
For tree foliage A, I selected an aureolin yellow and
cobalt blue—both transparent paints that I knew
could offer a similarly light value. In tree foliage B,
I chose aureolin yellow and phthalo blue (a stain),
which produced a much darker color when mixed.
In sky A, you can see the color change—from pink

to blue—as well as a limited value change; this
enables the sky to hold together as one shape.
I used two transparent paints—rose madder
genuine and cobalt blue—which were likely to
Mixing a gradated trail of the local color with a warmer yellow—to indicate produce similarly light values.
the warm sunlight—creates a range of colors, warm to cool.
In sky B, I used rose madder genuine and phthalo
blue (a stain), which darkened the mix. It produced
too much value change to hold the shape together.
In Swauk Valley (watercolor on paper,
THE COLORS 7½x11), I captured the overcast sky,

typical for a valley in winter, using
soft edges and close values. The color
OF THE EARTH of the sky has a big impact, because

much of its color reflects onto the
land and influences its color. In these
When the land makes up the bulk of the real estate in a landscape rolling fields, for example, there are
scene, often that includes a lot of flat space that receives the subtle changes in color, but not value.
The front field is the warmest; the
light diferently from one area to the next. If the land has dips, field in the middle distance is slightly
and changes in heights and contours—as in rolling pastures— cooler; and the farthest field, on the
then there will be changes in value, however slight, and changes left, is an even cooler, grayed yellow.
in hue. For the back hill, I mixed a trail of
If the scene includes a view of the land in the distance, the aureolin yellow and raw sienna, and
color of these areas will change, appearing cooler, and perhaps then added a touch of a violet (cobalt
blue and rose madder genuine) to
grayer, and bluer, than the land in the foreground.
gray the yellow. Notice how the
Changing the hue, and maybe even the value slightly, as the mountains on the left fade to a cooler
eye travels over the land is an important tool for creating inter- and lighter value as they recede
est and indicating three-dimensional space. into the distance.

Color change is a great way to indicate distance.
Color change is a great way to indicate distance. The colors of the fields in
Whidbey Island (watercolor on paper, 7½x8), for example, become more cool and
grayed as they recede. Even the trees lose a bit of their brightness and warmth
as they recede into the distance. For the front field, I used aureolin yellow with
some cadmium yellow. The color in the middle field was less yellow, and thus a
cooler green. For the farthest field, I grayed the yellow with a light violet mixed
from rose madder genuine and cobalt blue (a sky color).
The colors I used for the path in

Ravenna Park (watercolor on paper,
10x11) get cooler from front to back,
which creates movement and a
feeling of distance, but the values
remain the same. The little hill on the
right is a slightly darker value than
the value of the flat path. That darker
value change separates it from the
lighter flat path and makes it appear
on a different raised plane. I used
aureolin yellow, rose madder genuine
and burnt sienna for the path, adding
some cobalt blue sky color in the back
to cool and gray it. For the hill, I used
the same paints, just thicker so they’d
be a darker value.
THE COLORS
OF THE SEA
he sea is always in motion. At times, though, it appears
quite still, at a slack, just before the direction changes.
It’s important to take a gestural approach to drawing the
sea, keeping the lines loose and feeling the movement.
Where the sea is flat, between waves or ripples, it reflects
the color of the sky. Waves, on the other hand, have vertical
planes that require slight value and color changes.
Because the sea is moving so much, a painter needs to look
closely. You’ll see that the hues in the sea are connected with
the hues in the sky, even if the sky isn’t shown in the painting.
The sea depicted in Morning Light
(watercolor on paper, 6x8) lines the rocky
coast of the Straits of San Juan de Fuca in
the Pacific Northwest. It was early morning, It’s important to take a
and the sunlit sea had waves that bounced
against the rocks and created lots of gestural approach to
movement—with a calmer sea surface
farther back. The sky above was a pale
yellow, so this is the color (aureolin yellow)
drawing the sea, keeping
that reflects down onto the flat water
between the waves. The purple (a mix of
the lines loose and
cobalt blue and rose madder genuine) is on
the side planes of the waves—a reflection
feeling the movement.
from the side of the rocks (where I was
sitting) and the cliffs behind me.
In Ireland Shore (watercolor on paper, 7½x11), the sea is active,

especially at the shore. The waves and movement of the sea mean
changes in colors and values. The distant sea has fewer visible
waves, so I’ve applied a flat wash without much change. To keep a
light value overall, I used a transparent cobalt blue and a touch of
cerulean blue in and around the white wave tops, which were first
lightly drawn. Notice how I’ve also used the sky colors in the sea.
The sea in Neah Bay Mist (watercolor and pastel on paper, 7½x11)
shows an unusual slack tide on a calm misty morning in a protected
bay along the shore of the Straits in Washington State. The sea is
calm; the sky is calm; and there isn’t much tidal movement. The feeling
of something about to happen dictated my choices of color, value and
edge treatment. Because the water is basically flat, there isn’t much
color or value change, but in the tide pool reflections on the left, I’ve
captured the reflected color from the forest farther back. Notice also
that in the sand along the shore, there’s a slight color change, but not
a value change. This creates some interest and visual movement, but
not too much for this calm scene. I used two transparent paints—rose
madder genuine and aureolin yellow—in a gradated mixing trail on my
palette and kept the thickness of the mixture consistent.
THE COLORS
OF THE SKY
he sky is important for setting the tone and mood of a painting. If it’s excitement you
want, then you’ll need color changes and hues that are bright, and edges that vary from
hard to soft to rough. If, on the other hand, it’s a quiet, somber mood you’re after, then
you’ll want to use more grayed, lower-intensity hues and let them blend together with soft
edges. hese color changes in the sky will create visual movement, but keep the changes
close to one another in value. Also, note that the colors of the sky nearly always play a
part in the color of the landscape below. WA

In Mount Stanley, B.C. (watercolor on paper, 7½x11), the sky
isn’t the main area of interest, but I still wanted to add
interest there. I painted the sky and clouds separately,
allowing for some hard and rough edges between. For the
darker sky above, I mixed a trail of cobalt blue with some
more opaque cerulean blue on my palette, which I charged
in at the top. There’s less modeling in these clouds than in
Cle Elum Sky (below), which helped to keep the focus on the
mountain area beneath. Notice how the shapes of the
clouds subtly mimic the shape of the mountains.
The sky in Cle Elum Sky (watercolor on paper, 3½x5) is active—a typical
sky viewed over the Cascade Mountains, where the air gets whipped up
and moves fast. You’ll see a bit of value change between the blue sky and
the clouds, and also within the clouds, but not so much change that the
shapes fall apart. In the lower center of the cloud, I used a gray
composed of all three color primaries—aureolin yellow, rose madder
genuine and cobalt blue, all transparent paints. I applied the mix quickly,
creating soft edges to suggest the airiness of the cloud bottoms. For the
sky above, I used a slightly thicker mixture of cobalt blue with more
opaque ultramarine blue to darken the mixture. I was careful to paint
these two areas of sky and clouds separately. I wanted to get some hard
and rough edges, as well as a little more value contrast, to create
The colors of the sky interest and excitement at the top of the clouds.
nearly always play

a part in the color of Meet the Artist
the landscape below. Artist Catherine Gill teaches painting and
printmaking out of her studio in Seattle
and in workshops throughout the U.S. and
in Europe, Asia and Australia. She’s a
co-author of the book, Powerful Watercolor
Landscapes (North Light Books, 2011). You’ll
find instructional video downloads,
including “Plein Air Painting Equipment”
at catherinegill.com.
Keeping the Top
of Your Head Open
The Transcendent
Paintings of
Tom Perkinson
THIS NEW MEXICO ARTIST COMBINES
WATERCOLOR AND PASTEL TO REIMAGINE
THE LIGHT-FILLED SPLENDOR OF THE
SOUTHWESTERN LANDSCAPE.
By John A. Parks
he Native Americans have an

expression that I like,” says New
Mexico-based artist Tom
Perkinson. “‘Keep the top of your
head open.’ ” It’s an invitation to be
alive to experience every moment,
and to be open to new possibilities
and novel solutions. It perfectly
describes the outlook that
Perkinson brings to his own work.
Painting the ravishing landscape of New Mexico, he pushes
the color to almost-otherworldly realms of saturated
violets, vivid yellows and resplendent oranges. he result-
ing paintings revel in the transformative power of light.
A “MINDFUL” CAMERA
Inspired by a climate that can present everything from the Saturated washes
of watercolor are
limpid clarity of high-altitude air to sudden squalls that enriched with
race across the desert floor, to the delicate magic of winter delicate applications
snowfalls, Perkinson’s work seems to be the ultimate of pastel to create
appreciation of one of the most visually spectacular active, broken color
in Twilight, New
regions in the United States. It comes as a surprise, then, Mexico (mixed
that almost all of his paintings are done from his imagina- media on paper,
tion and memory. 20x20).
“I’m always looking,” says the art- him to explore the vista in watercolor Once he begins to get a feeling for
ist. “When we travel around, my wife, without directly referring to it. the developing landscape, Perkinson
Louise, usually drives, and I’m looking Instead, he adopts a process of dis- starts to determine a sense of scale.
at everything. I guess I must have covery in which he establishes a loose “During these irst few moments,
some kind of camera in my mind.” and suggestive painting and then I must establish my distance from the
Perkinson’s deep love and under- “inds” a landscape in it. “I don’t scene,” he says. “Am I a mile away or
standing of the New Mexico begin with sketches, because I want just across the river? his is one of the
landscape—and the way that light to be free to follow the painting in irst steps, and I have to decide before
transforms it under a variety of weather any direction,” he says. “I start with I can continue. It’s important for
conditions and times of day—allow washes of diferent values and tints. working out the perspective and how
hen, I begin to look for a landscape. things are going to relate to one
Several directions will appear to me another in the picture. hen, as the
OPPOSITE at this time, and then I have to decide landscape evolves, I look for more
Perkinson is careful to create a
on one of them.” images to add to the composition.”
variety of edges, from soft to hard,
in Autumn, New Mexico (mixed Perkinson emphasizes that this is
media on paper, 16x28). the most diicult part of the process A MULTIMEDIA
and notes that even after he has made APPROACH
BELOW a decision, he leaves himself open to Gradually, Perkinson ills out his world,
The figures in Boys Fishing Along
the River (mixed media on paper, changes. “I never want to feel married bringing in foliage, landscape detail
20x30) add narrative drama and to the irst idea in case something and weather conditions. He builds his
a sense of scale. better comes along,” he says. watercolor simply, doing just a little

mixing but mostly building thin layers pastel from one area to repeat the
of pure color. After establishing the color in another. “It’s a really efective
painting in watercolor, he lets it dry
overnight and then works over it in
technique in terms of the subtlety that
I can achieve,” he says. With both his
Rooted in Art
colored pencil and pastel the next day. watercolor and pastel work, Perkinson The skill, surety and
“he watercolor seeps into the paper is concerned about retaining a sense imaginative power evident
while the pastel sits on the surface, of spontaneity and looseness. “he in Perkinson’s paintings result
which adds to the illusion of depth worst thing someone can say to me at from a life devoted to art.
and space,” he says. an exhibition is ‘Tom, that looks like it “It seems that I’ve always been
an artist,” he says. “I grew up
Perkinson uses the pastel layer to must have been really hard to do,’ ” he on a farm in the Indiana
augment and dramatize the imagery says. “What I want to do is to make it countryside, where there was
that has developed in the watercolor. look like the painting flowed onto the always plenty of varied
“I’ll often rub in certain areas and paper efortlessly.” subject matter for me to study
take away others,” he says. “his Making the painting look easy and draw. At a young age, I
technique gives the painting a visual often involves deciding to stop long began painting and drawing
history and its own patina.” before things get overworked. anything I saw or imagined.”
It wasn’t a surprise that
To create a variety of efects, Perkinson doesn’t rush this decision. he made his way to the
Perkinson sometimes uses a can of “I have several paintings in my studio Southwest. “I was inspired
compressed air that he directs at diferent stages of development,” he by the New Mexico landscape
through a ine tube; the air blows the says. “I go into the studio every morn- as a child while traveling
pastel around or completely of the ing with fresh eyes, and I study each through the state on a family
surface. his approach allows the art- one for a short period. It’s at this time vacation,” he recalls. “I moved
here in the 1960s, and I’ve
ist to modulate a passage, add texture that I can see what has to be changed, always been inspired by the
or remove most of the pastel from an added or removed. When a painting drama of light and shadow
area. “he kind of efect I get depends no longer needs anything to be as they fall and move on the
on how far away I hold the can from changed, I sign it, and it’s complete.” mountains and mesas.
the paper and how hard I press on the In the morning and evening,
trigger,” he says. “It produces efects SPLENDOR the landscape can change
to a completely different visual
I just can’t get any other way.” OF THE LIGHT reality in just moments.”
Perkinson also uses cardboard rolls, In his more recent work, Perkinson has
or stumps, both to blend and to lift been inclined to add more narrative
detail in the form of igures, horses he artist notes that although viewers them credible and therefore seductive
and other animals. Here he some- generally are excited by the color, he to the viewer. “My color combinations
times looks for reference, although he himself pays close attention to the aren’t in the realm of the natural
never uses it directly. “If I’m thinking tonal values, noting the saying: world, because I don’t paint reality;
of adding some running horses, then “Color gets all the credit, but it’s the I’m a painter of iction,” he says. “I try
I might pull a few images of the com- values that do all the work.” to paint a sense of place, as though
puter just to see what’s happening he scenes he creates might be this scene really does exist. I have had
with their legs when they’re moving,” imaginary, but the artist sees it as his my collectors ask me where this scene
he says. “But then when I draw them, job to present them as real, to make is, and I just have to point to my head
they’re my horses.” He jokes that one
of his art dealers refers to the dogs in
his paintings as “Perkinson dogs”—
My color combinations aren’t in the realm
an entirely new breed.
While Perkinson presents a fully
realized world, it’s the splendor of the
“of the natural world, because I don’t paint
reality. I’m a painter of fiction.
light in his work that carries the day.

”
and say I made it up. hus, I think of
my work as romantic realism. I’m Meet the Artist
painting a certain reality that I’ve Tom Perkinson (tomperkinson.com) grew up in rural
invented, inspired by the fascinatingly Indiana and studied at the Chicago Academy of Art
rich Southwestern landscape.” before pursuing an undergraduate degree in
Oklahoma. He completed a master’s of fine art at the
A GLIMPSE University of New Mexico and, after teaching there for
OF A MOMENT two years, elected to devote his life to painting. His
work is included in many private and public
he power of Perkinson’s approach collections, including the Museum of New Mexico, in
can be seen in Ribbon of Light (oppo- Santa Fe; the University Art Museum, in Albuquerque;
site), where the sun is setting in a and the Eiteljorg Museum of Western Art, in
yellow-orange band of sky stretched Indianapolis. His work is represented by the Manitou Gallery, in Santa Fe;
above a vast valley bathed in a lumi- the Total Arts Gallery, in Taos; and the Howell Gallery, in Oklahoma City.
nous violet twilight. A squall seems He and his wife, Louise, make their home in Corrales, N.M.
to be suspended above this band,
sending down gray slants of rain
while clouds give way to a limpid
deep blue sky replete with a delicate
“I try not to explain every detail
in a painting,” Perkinson says. “I leave
Turn for a demo
sliver of moon and a scattering of room for viewers to complete the
evening stars. It’s a scene that hovers painting, based on personal history.
between reality and a benignly tran- I want the viewer to get a glimpse
scendent experience. of this moment suspended outside OPPOSITE
Ribbon of Light (mixed media on
In Two Riders Along the River of time that I experienced while
paper, 16x16) pushes color to
(below), a setting sun has released an painting. It’s a place where one can fantastic realms of blues, red-violets
almost improbable red glow across the simply be.” and oranges.
foreground, while the distant moun-
tains glow with a vivid purple. he two John A. Parks (johnaparks.com) is BELOW
Although the color in Two Riders
horse riders in the middle distance are a painter, a writer and a member of Along the River (mixed media on
almost subsumed in a light condition the faculty of the School of Visual Arts paper, 5x10) is exaggerated, it’s
that verges on the supernatural. in New York. modulated in a very subtle manner.
demo
Watercolor Meets Pastel

Perkinson seamlessly marries media to create a landscape
rich with color and mood.
Step 1 Step 2
Using watercolor, I quickly applied the fundamental washes and I added the rain cloud and the mountains in the background.
abstract structure. I then used walnut ink in the foreground. I then darkened certain areas to push them back into space.
Step 3 Step 4
I added cloud details and more I created more details using watercolor, pastel and colored
color to the sky. pencils, adding more vibrant color to the sky,
the trees, and the background and foreground.

Step 5 Artist’s Toolkit
I added the two geese by the PAPER
water and the red-winged
blackbirds in the foreground. • Lanaquarelle 300-lb.
I worked on the large rocks cold-pressed
under the trees on the left. PAINTS
• Dr. Ph. Martin’s
liquid watercolors; Winsor
Final Step & Newton watercolor tubes,
both gouache and regular
I added one more goose near transparent varieties
the water and painted in the PASTELS
flying geese in Geese in
November (mixed media • Unison, Sennelier,
on paper, 10x10). WA Nupastels
MISC.
• Prismacolor colored
pencils, permanent walnut
drawing ink
Bright Ideas
r on Stocke (ronstocke.com) has

been painting en plein air in some
fashion for more than 20 years,
but a few years ago, when he irst
tried painting on location at night,
he encountered new challenges that
reminded him of that time when he
irst started painting outside.
“I was preparing for a nocturnal
series of paintings,” says Stocke. “And,
unlike painting during the day with
natural light, when painting at night,
you’re often confronted with multiple
light sources. Light from inside shop
windows, street and public lighting,
and headlights from the many passing
vehicles—they all can cast separate
shadows that can be confusing. My
solution for this situation? Isolate the
main light source and stick with it.”
In spite of any added complexity,
like most artists, Stocke relishes any
opportunity to ind additional hours
in the day (or night) for painting.
Painting in
the Dark
PHOTOGRAPHY BY ANGELA BANDURKA AND RON STOCKE
Artist RON STOCKE enjoys painting on

location—even after the sun goes down. LET THERE BE LIGHT
The artist likes to set up and start
drawing while there’s still light.
By Anne Hevener Then, as the light disappears, he
clips on a headlamp. “Be aware of
the temperature of your light,” says
Stocke. “If it’s too warm, it will affect
how you see the color.”

PLEIN AIR TOOLKIT
To set up on location, Stocke uses a camera
tripod with a Sienna plein air panel holder
[siennapleinair.com] to carry his board and
paper. “I made the shelf out of a piece of sheet
aluminum,” he says, “which is sturdy enough to
hold my palette, brushes and water.” Other
essential supplies include:
Brushes: Both natural and synthetic. “I usually

bring fewer at night than I would for daytime
painting,” he says. “The fewer items I bring, the
fewer I might lose in the dark!”
Palette: Stocke uses the same palette whether

he’s painting in the studio or on location “so that
I’m familiar with the color arrangement,” he says.
Miscellaneous: A collapsible water container,

a headlamp (or other light source) and layered
clothing. “It’s not
uncommon to
experience
dramatic
temperature
shifts in a
short period
of time once
the sun sets,”
says Stocke.
LESSONS
LEARNED
1. Stay focused on your
painting. It’s easy to get
caught up in everything
that’s happening
around you.
“When painting on location, the best
advice is to pack light. It will make the
”
2. Don’t overdo the
details. Stocke’s rule is: whole experience more enjoyable.
If you can’t hit it with a
baseball, don’t paint it. THE MAGIC
OF THE
NIGHT
Stocke says that
Flower Market
(14x21), a painting
of a flower stand
near Seattle’s Public
Market, was a nice
respite after painting
3. If your painting isn’t a lot of street scenes.
drying, try adding an “At first I thought that
opaque color to the the figures might
mix. This will allow you dominate the image,”
to define the edges he says, “but the
better. The end result flowers quickly
will be a soft edge that became the stars.”
delivers beautiful
transitional areas.
Floral
Arrangements
FROM DELICATE CHERRY BLOSSOMS
TO HEARTY SUNFLOWERS, THAI ARTIST
ADISORN PORNSIRIKARN PAINTS
COLORFUL BLOOMS DESTINED
TO GRAB YOUR ATTENTION.
By Isabelle V. Lim
W
atercolor artist Adisorn Pornsirikarn is as generous
as Mother Nature on a warm spring day, scattering
myriad floral petals to the delight of people all
over the world. Viewers are drawn into ields and
bouquets of the delicate, moisture-laden flower
petals via the artist’s daily Facebook postings of his floral paintings
on abstract backgrounds.
Pornsirikarn, a native of hailand, lives in Bangkok. As an artist,
he’s known for his command of the watercolor medium, and his ability
to use it to establish the connection between light and shadow found
among flowers and leaves; the sparkling light that shines on petals;
bold brushstrokes; softened edges; and the remarkable drama that plays
within the negative areas. BELOW
Pornsirikarn shares a few of his thoughts here on watercolor and how Waterlily (watercolor
he uses the medium to awaken viewers’ senses. on paper, 18x24)
ABOVE
Cherry Blossoms,
No. 2 (watercolor
on paper, 18x24)
On Finding His Calling
Pornsirikarn recalls his introduction to watercolor
at a demonstration given years ago by Aree
Suthipan, a senior art lecturer and respected water-
color artist in hailand. Pornsirikarn found himself
enthralled as the water and paint merged together
and quickly formed shapes on the paper.
Shortly thereafter, he began experimenting seri-
ously with the art form. “I’ve studied all forms of
visual art processes, but watercolor is my chosen
medium,” he says. Since making the discovery, he
has held many sold-out exhibitions and has taught
in the ield for more than 20 years.
On Working Without
a Drawing
Pornsirikarn turns to soft pastels for his prelimi-
nary studies. “I’ve been told my pastels are as
competitive as my watercolors,” he says. He
foregoes sketching his subject on the watercolor
surface, however. “Pencil lines handcuf my
creativity, so I choose to be very clear with my
preliminary visual design of a inished painting.
“I liken it to translating a dream into reality, no
matter the subject or the size of the paper,” he
continues. “I love the freedom to be able to play.
his is why my paintings possess a fresh feel. I feel
that they’re exciting and dramatic, yet clean, and
appear as though the moisture lingers on the paper
surface. his awakens the viewers’ senses. hey
‘breathe in’ the ‘fragrance’ that results from their
own interpretation of the flowers.”
On Planning for the Light

“I plan ahead, so I know where the light will be pre-
served,” the artist says. “I never try to rub of any
Blooming
speciic area to create light or to bring back the
(watercolor on whiteness of the paper.” And, Pornsirikarn never
paper, 20x14¼) adds white paint to his works.
On Brushstrokes
Instead of focusing on making the strokes visible,
the artist expresses his emotions with simple

On a Grand Scale
At 3¾x16¾ feet, The Blooming of the Ramayana is Pornsirikarn’s largest
watercolor. Painted in 2014 to honor His Majesty The King Bhumibol
Adulyadej in celebration of his birthday, it depicts the main characters
from The Ramayana, an ancient Indian epic.
The story follows Prince Rama’s quest to rescue his beloved wife, Sita,
from the clutches of the demon king, Ravana, with the help of an army
of monkeys and bears.
Pornsirikarn completed the painting in less than two days, with no pencil
lines involved. His entire painting process was filmed for an art education
documentary and can be viewed at bit.ly/pornsirikarn.
Peony (watercolor brushstrokes that depict the complexity of the

on paper, 21½x29½) petals, yet retain the medium’s transparent quality.
Pornsirikarn uses angular brushes of various “I LOVE THE
sizes for creating petals and negative areas. “hese
types of brushes are good for creating featherlight FREEDOM
efects of petals and leaves,” he says. “he tip can TO BE ABLE
draw expressive stems and branches.”
He encourages his students to use angular TO PLAY.”
brushes, explaining that it gives them “much-
needed conidence.” He also recommends that his
RIGHT
Peony (watercolor
on paper, 21½x29½)
BELOW
Sunflower
(watercolor on
paper, 20x14¼)
students own a good rigger brush for dragging long

lines across the paper.
Pornsirikarn believes in new challenges and
ongoing development. “My work is a response to
the movement of my brushstrokes, both intentional
and incidental,” he says.
He works wet-into-wet, wet-on-dry, dry-on-dry
and dry-on-wet. Pornsirikarn says he feels “trium-
phant” when the wet brush addresses problems that
occur during the painting process.
On Painting on the Edge

“People always say I work the edges,” says the artist.
“True enough, when my movement, brushstrokes
and concentration are swift and direct, I shift
between drawing and painting with a wet brush.
I make quick decisions.”
On Color
Pornsirikarn enjoys using bright, intense colors
when painting tropical blooms and “charging at my
favorite English roses.” (See “Roses in Bloom,” on
pages 46-47.) Holbein and Schmincke watercolors
are his go-to paints, and quinacridone scarlet
(cherry red) is his favorite color.
He prefers to let the paper dry naturally, as the
power of the water mixing with the paint creates
luminous intensity. he moisture appears pervasive,
even when the surface is completely dry.
On Getting Work Done

Pornsirikarn paints daily during his art instruction
classes; when he’s not teaching, he maintains a
strict discipline of painting at home from sunrise to

Artist’s Toolkit
PAINTS
• Holbein and Schmincke:
cadmium yellow light,
translucent orange,
quinacridone scarlet
(cherry red), quina-
cridone magenta
(rose violet), sap green,
permanent green,
shadow green, cerulean
blue, ultramarine light,
bright violet
SURFACE
• Arches 110-lb. rough
BRUSHES
• Spider angular,
Rosemary angular:
½-, ¾-, ⅝- and 1½-inch
MISC.
• spray mister
Turn for a demo

Meet the Artist
Hydrangea sundown. “I could keep on painting,” he says,

(watercolor on “based on the amount of my inspiration.”
paper, 20x14¼)
On Goals
“I want to see the Asian watercolor tradition reach Adisorn Pornsirikarn (facebook.
new heights,” Pornsirikarn says. “I dream of creat- com/adisornpornsirikarn) is a
ing a harmonious relationship toward all beings and native of Buriram, a northeastern
province in Thailand. He earned
better still, the universe. Art creates and enhances his master’s degree in art
a harmonious world.” education from Srinakharinwirot
University in Bangkok and is a
Hong Kong-based artist and writer Isabelle V. Lim sought-after art instructor in the
(isabelleart.com) has painted in watercolor since private and public sector. He’s also
childhood and has held numerous watercolor exhibitions. a celebrated artist, invited by
Thailand’s government to
She also works in pastel, and is a Master Pastelist of the demonstrate his painting process
Pastel Society of America, a Master Circle member of the at Thai embassies around the
International Association of Pastel Societies and Maître world. Pornsirikarn currently
Pastelliste of the Société des Pastellistes de France. resides in Bangkok.
demo
Roses in Bloom
Adisorn Pornsirikarn harvests a riotous garden—from first blush
to princess pink—with the stroke of a brush.
Step 1 Step 2
Working wet-on-dry, Using quinacridone
I established an scarlet, I worked
atmospheric coloring wet-into-wet
overview by to accentuate the
concentrating on the floral shapes and
dynamic balance of soften the petals’
the shapes, the edges and angles.
spacing, the darker
tones in the center
areas and the
highlights in the
lighter areas.
Step 3 Step 4
I added detail to the I used translucent
smaller petals by orange, quinacridone
applying strokes scarlet and
using a smaller brush quinacridone
loaded with magenta to create
quinacridone scarlet. the background.
I then glazed the I painted the leaves
petals with using sepia green,
quinacridone permanent green,
magenta sap green, shadow
(rose violet). green and
cerulean blue.

Step 5
I filled in the buds and grouped the branches
and leaves together. This helped to eliminate
some of the petals’ hard edges.
Final
Blooming English Roses (watercolor on paper, 29½x21½) WA
Step 6 “I’VE STUDIED ALL FORMS

I used a spray mister to keep the paper moist
and eliminated a fussy background by
OF VISUAL ART PROCESSES,
observing the negative areas. When the paper
was dry, I glazed the roses using a wet-on-dry
BUT WATERCOLOR IS MY
technique and emphasized the light on the
roses in the center of the painting.
CHOSEN MEDIUM.”
Burning Question
What’s the worst (or

best) thing that ever
happened to you while
painting en plein air?
Whims
of the
Weather
DAVID SAVELLANO:
I was about 50 percent
Trials of Travel
complete with a KATHIE GEORGE: Despite explicit instructions
painting of a wonderful to pack light, one of my workshop students,
vista scene in the Betty, showed up in France with a suitcase the
Sonoma Valley when a size of Rhode Island. She was joined by Rita,
fast-moving rainstorm a much younger woman, who had been
KEYRING PHOTO COURTESY OF BRENDA SWENSON. CAT ILLUSTRATION BY DORLING KINDERSLEY/GETTY IMAGES.
forced me to pack up assisting Betty with her bag since landing in
COW ILLUSTRATION BY JH LLOYD/GETTY IMAGES. SUITCASE ILLUSTRATION BY KATBUSLAEVA/GETTY IMAGES.

my gear and retreat to France. When they asked about a taxi at the train station, the
my camper shell. Those attendant said there were none available and suggested they walk.
passing rain clouds So, the two of them began trudging through the heat, walking
provided a dramatic down a street that soon turned into a hill, until finally, Rita
and highly atmospheric suggested they stop. She left Betty with the suitcase monstrosity
change of scene. and went off alone to find their hotel. When she located it, she
Watercolor, fortunately, convinced the owner to send her daughter back for Betty, who had
is the perfect plein air been waiting for well over an hour now—long enough to begin to
medium to quickly worry about what had become of Rita. When a car pulled up and
capture rain clouds the hotel owner’s young daughter jumped out, motioning wildly for
dumping water and her to get into the car, Betty, not having a clue who this person was,
casting shadows on the asked: “Where is my friend?” And then she swore she heard the girl
valley floor and beyond. say, “She’s dead.”
So, within minutes, I had It was a day later, when all were rested and retelling their story,
changed the painting that our French host deciphered the mistake. It seems that the
from a sunny scene to a phrase for “I help you” in French is je t’aide (je ted), which sounds
rainy scene. a lot like “She dead.”

Animal
Encounters
FRANK EBER: I was
painting in France in a
meadow with cows nearby.
The animals soon decided
to saunter over to see what
was going on. Unfortunately,
they brought with them
an army of flies and an
incredible stench. The flies
landed on my palette, in my
face and on my painting. It
was so bad I actually had
to pack it in.
BRENDA SWENSON: I’ve

had a cat snatch gear out
of my sketch bag
“ Watercolor is, fortunately, the perfect plein

air medium to quickly capture rain clouds.
—DAVID SAVELLANO ”
and take off in a
mad dash up the
block and around
the corner. Fifteen
minutes later, he
The Kindness of Strangers returned looking
for something else
FRANK EBER: Once, when painting in Texas, some passersby to steal.
invited me to their nearby ranch and then asked me to stay for Another time,
dinner. Amazing hospitality in that state! I was painting in
the Arroyo in
BRENDA SWENSON: I was sketching in Prague and had set up in Pasadena when
the open market. A 5-year-old girl showed up. She was really a blue jay became
excited and intent on telling me something, but I couldn’t preoccupied with me
understand a word. Later, she showed up again, and handed me and spent a good 20
a little Russian doll on a key ring. I admired her little treasure and minutes dive-bombing and
handed it back. Her smile turned to sadness, and she shook her screeching from a nearby
head. I wondered what I had done wrong. She tree. Eventually I figured out
reached down, picked up my palette and put that he was fascinated with
her little treasure inside my sketch bag. She was the shiny metal ferrule of
giving me a gift! The kindness of this little child my paintbrush. I held out
lifted my spirits in a way that’s hard to express. my arm, and he landed on
The little doll still sits on a shelf in my studio. it. Once satisfied, he took
I also have the sketch I did later that day to off, not to be seen or heard
remind me of the simple kindness of a child. from again.
9th Annual
Watermedia
Showcase
We viewed hundreds and hundreds of incredible entries for our
latest competition—paintings that demonstrated both exceptional
skill and full-throttle creativity. Take a look at the nine pieces we
ultimately selected for recognition. We think you’ll agree: When it
comes to watercolor, the talent is both great and abundant.
By Anne Hevener
BEST OF SHOW Q What was your painting watercolor (it took me 20 years to
process for the work? understand this) and, therefore, I
Chien Chung-Wei A In the beginning, it was a miniature
allow more freedom for the watercolor
to express itself within the planned
New Taipei City, Taiwan watercolor in my sketchbook. hen, layout in the irst stage of coloring.
I thought it was good enough to be
Artist Chien Chung-Wei is a
signature member of both the used as a demonstration on a quarter Q What do you love most about
American Watercolor Society and sheet for my studio students. I painted working with watercolor?
the National Watercolor Society. He’s it using the reference photo that
also an experienced art teacher who I took last year; however, photos A I like that I can make attempts, take
conducts watercolor workshops always will remain a reference only. risks, play games, explore and go
around the world. I much prefer—even when painting beyond a basic vocabulary of shapes.
en plein air—to re-create the image
with the kind of light and shadow Q What has been most influential
and shape that I want. In this case, to your painting lately?
Q What was your inspiration for I adjusted the location of the lanterns
this painting? to make the composition more A Recently I’ve been experimenting
dynamic. hat design choice has with different kinds of paper—hot-
A Located on a hillside, Jiufen is a become the soul of the whole painting. pressed and cold-pressed—and
famous old town in Taiwan. It had papers produced by different brands.
been 20 years since I’d last visited Q Did everything go according to For more than 20 years, I’ve been
until last year when I planned to paint plan during the course of the using Arches rough paper almost
a series of old Taiwanese towns. painting process? exclusively. I realized over time,
Jiufen was the irst town I wanted however, that I wasn’t expanding my
to visit again. A I drafted a sketch as a preparation techniques. So, knowing that I had
for the overall structure and composi- to leave my comfort zone bravely so
tion in the irst stage of coloring. his that I could discover new horizons,
The Town of Jiufen sketch is only a rough plan for the pro- I started to explore. For The Town of
(watercolor on paper, portions on the surface of the paper. Jiufen, I used Saunders Waterford
14¼x10½) I know that it’s impossible to force 300-lb. rough.
SECOND PLACE
Jansen Chow
Selangor, Malaysia
Jansen Chow graduated from Kuala Lumpur College
of Art in 1991 and furthered his studies at the Art
Students League of New York. He has signature
memberships with the American Watercolor Society
and the National Watercolor Society, among others.
His work in watercolor, oil and etching has garnered
awards in international exhibitions.
Q What was your inspiration for this painting?

A A few years ago, I traveled to Portugal. hroughout
my trip, I took a lot of photos and painted a lot of
sketches. Back in the studio, I had the urge to create a
picture that could represent how I truly feel about the
beauty of Portugal. Coincidentally, an international
watercolor exhibition was organized in Portugal, so
I inished the piece in time for the exhibition.
Q Did everything go according to plan during

the course of the painting process?
A It would have been easy if I had decided to paint the
piece according to the nice photo that I took, but I
chose to rebuild the scene and ill it in with emotions
and memories of my own. I struggled, and it took a
long time to inish this painting, because I was going
through a low point in my life. Originally, I just
wanted to portray the beauty of the port of Portugal,
but I continued to expand the idea during the creative
process, looking to achieve a higher level of meaning—
a portrayal of rain that has been washed away, the
fading away of winter and the coming of spring.
Q What do you think is most important

to making a successful painting?
A I think a successful work must have something to
ofer that’s unique. he technique needn’t be perfect;
individuality and diferentiation in a painting are
more important and compelling.
Q What has been most influential to your

painting lately?
A In recent years, whenever I’ve had the opportunity
to participate in international watercolor events, I’ve
been taking my favorite watercolor tools with me.
Apart from being invited as a watercolor demonstra-
tor, I also enjoy communicating and exchanging ideas
with watercolor enthusiasts from all over the world.
Portugal at Night I hope my positive attitude will inspire the audience
(watercolor on paper,
19½x27½) to understand more about the unique characteristics
of watercolor and fall in love with it.
THIRD PLACE Q What was your inspiration for
this painting?
Kathy Caudill A A few years ago, I was in Sautee
Rock Hill, South Carolina Nacoochee, Ga., as a participant in the
A third-generation self-taught artist, Kathy Caudill began Southern Watercolor Society’s 35th
her career as a commercial artist and then worked as a Annual Juried Exhibition held at the
courtroom sketch artist before committing to full-time Sautee Nacoochee Center. While
painting several decades ago. Her award-winning work there, my husband and I spent a few
has been exhibited and collected widely and has also days sightseeing and taking in the
appeared in a number of art publications. Caudill has
been teaching local and regional painting classes and breathtaking beauty of the Nacoochee
workshops for 25 years. Valley. On one particular morning, a
blanket of mist had settled over the
entire area, enveloping the valley and
gently fading out the surrounding
mountains. Even the air seemed oddly

Misty Morning In
Nacoochee Valley
(watercolor on paper,
15x28¾)
Q Did everything go according

to plan during the course of the
painting process?
A Unfortunately, cows don’t like to
pose for paintings. I had to add or
subtract a few, and turn some around,
to create a better composition.
Q What do you think is most

important to making a successful
painting?
A A successful painting has to
embody the feelings and emotions of
the artist. Regardless of the subject
matter, the viewer needs to be able to
feel this connection.
Q What do you love most about

working with watercolor?
A Watercolor is a clean, precise and
earthy medium. Except when it’s
used in fluid washes, it handles in a
way that’s very much like drawing,
but it also incorporates the added
beneit of color. It has a luminous
inner glow unlike that of any other
painting medium.
calm and hushed as we watched several moisture from my paint-loaded
herds of cattle grazing peacefully in the brush. I continued working from the Q What has been most influential
distance. I knew at that moment that background forward and taking care to your painting lately?
I wanted to try to capture in paint the to preserve the soft transitions
way that morning felt. between the layers of mountains and A While caring for my mother, who
trees. I worked intuitively, slowly was also an artist, and then after her
Q What was your painting building the subtle textures with recent death, I didn’t paint. When
process for the work? multiple strokes, sometimes lifting the time came to pick up a brush
and other times scumbling the paint. again, I was keenly aware of my own
A I began the painting—which I did I didn’t think about technique as mortality and began the search to
on Arches 140-lb. cold-pressed I painted; I just immersed myself into ind deeper meaning in my own
paper—with the sky, laying it in with a the process. For awhile I felt I was work. I feel a sense of urgency, now
wet-into-wet wash. After the wash was actually a part of that painting, more than ever, to create work that
dry, I carefully worked back into it with standing once again in the beautiful captures a feeling of peace and
a small brush using a drybrush tech- Nacoochee Valley surrounded by the tranquility in a world that seems
nique, wringing out most of the early-morning mist. increasingly troubled.
Irises (watercolor on
paper, 13x8¼)
FOURTH PLACE
Borys Rybinsky
Kiev, Ukraine
Borys Rybinsky studied painting at
the Kiev Republican Arts School in the
Ukraine, and then at the Moscow
Institute of Arts in Russia.

HONORABLE
MENTIONS
Gary Tucker
Boston, Massachusetts
Dance of the Augers (watercolor on
paper, 24x25)
Kandy
Radzinski
Tulsa, Oklahoma
Lamb Wearing a Sack Hat
HONORABLE
MENTIONS
LEFT
Xi Guo
St. Augustine, Florida
Tangled, No. 3 (watercolor on
paper, 20x30)
BELOW
Bob
Gherardi
Stewartsville,
New Jersey
Drawing Near (acrylic on
illustration board, 16x20)

HONORABLE MENTION
Enter to Win
Daniela Werneck Would you like to see your work on these pages?
Katy, Texas Turn the page for information on entering the
10th Annual Watermedia Showcase. WA
The Girl With Popcorn Dress (watercolor on
Aquabord, 24x18)
1 0 T H A N N U A L I N T E R N AT I O N A L
watermedia
showcase
Your painting could win $2,500
and worldwide recognition!
Catapult your best painting into the spotlight
and showcase your artistic talent by entering the
Best of Show:
Watermedia Showcase competition. If you have $2,500
hopes of adding career-boosting recognition to your
resume, you simply can’t pass up this opportunity!
2nd Place:
Winners and honorable mentions will experience
the joy of seeing their painting in the April 2019 $1,250
issue of Watercolor Artist.
Enter by July 2, 2018, for your best entry price.

3rd Place:
$750
4th Place:
$500 Blick gift card
5 Honorable Mentions:
$100 Blick gift cards
Gift cards courtesy
of Watermedia
Showcase sponsor:
Portugal at Night (detail; watercolor on paper)

by Jansen Chow, Selangor, Malaysia
Early-Bird
Deadline:
July 2, 2018
Misty Morning in Nacoochee Valley (detail; watercolor on paper) by Kathy Caudill, Rock Hill, South Carolina
Playing (detail; watercolor on paper), by Yin Jun WuHan, China
FOR A COMPLETE LIST OF PRIZES AND ENTRY DETAILS, VISIT:

artistsnetwork.com/watermediashowcase
The competition is open to artists anywhere in the world. All works must be original. Mixed-media entries are accepted,
but the primary medium must be watermedia on paper. There is no limit to the number of entries you may submit.
For additional guidelines and to enter online, visit artistsnetwork.com/watermediashowcase.
Watercolor Essentials
I created
t d thi
this
charcoal value
sketch for Soho
Florist (acrylic
on panel, 12x12)
by using just
three values:
light, medium
and dark. The
sketch doesn’t
feature intricate
detail—just
simplified basic
shapes that
depict the light-
dark pattern.
Values, f or years I heard the word “value” tossed around and

was told how important it was to be able to see and
identify values correctly. Value, by deinition, is the
Simplified
lightness or darkness of a color. I knew that it was import-
ant to be able to identify approximately where a color’s
value fell on a scale of 1 to 10, but I didn’t really under-
stand how this would impact my paintings.
Knowing how to identify a color’s lightness or darkness
Learn to streamline your value studies is a good start, but it’s the ability to simplify values and
organize them into well-designed patterns and shapes
for stronger compositions. that’s really important; it’s the basis of a strong composi-
tion. Being able to take what you see and modify the values
By Patti Mollica to create a stronger, more readable image is key.

DEFINING VALUE
When we look at the world, we see objects that have varying degrees of light-
ness or darkness. For instance, a garlic head is a light value, an orange a middle
value and a pepper a dark value when viewed together, as seen below.
Using 10 Values
The eye can perceive millions of subtle gradations, simplify the process, because the range of values that can
from light to dark. As an artist, it’s imperative to be be perceived by the eye is far greater than what we
able to translate complex visual information actually can produce with our paints.
comprised of thousands of value variations into Using 10 values will give you a realistic representation
understandable shapes and patterns using a limited of the subjects in your painting. For a bolder, more
number of values. dramatic composition, reduce the value simplification to
Many accomplished artists reduce this infinite three: light (white), middle (gray) and dark (black). When
amount of information down to a scale of nine or painting a natural landscape, allow yourself four values:
10 shades, ranging from white to black. This helps white, light gray, dark gray and black.
Light Values Middle Values Dark Values
SIMPLIFYING VALUES
he concept of simplifying values
might sound like it should be easy,
but it takes patience and the ability
to stop and really think about the
light, middle and dark shapes before
you jump into color. If your painting
is based on a value sketch that has
been organized, simpliied and worked
out, it rests on a strong foundation,
and that will show in the painting.
Two of the best ways to see value
relationships more clearly are to
squint and to get some distance.
Squint.
When squinting, the image in front
of you automatically will appear more
simpliied because there’s less light
being perceived, which makes the large
shapes appear to mass together. his
will help you see and identify the over- SIMPLIFIED
all pattern, minus the small details. TO 10
Small details can hinder rather VALUES
than help the overall strength of the Compare the
color photo
painting. hey should be considered above to the
inishing touches rather than struc- grayscale photo
tural, weight-bearing beams. When at left. The
you see the big shapes that make up number of
your subject, you can start to block values on the
them in and make decisions about how grayscale photo
has been
to simplify what you see. reduced to 10,
Squinting also de-emphasizes color. which helps to
he lack of light cuts out color, causing simplify the
you to see fuzzy black and gray shapes. chaotic scene by
massing similar
Get some distance. values together.
When creating a preliminary value
sketch, consider how the inal painting
will read from a distance. Walking away
from your work and viewing it from 10
feet away will help you decide whether SIMPLIFIED TO
it reads well. Squinting does the same THREE VALUES
Now the complex
thing, as does looking at a thumbnail urban scene has
image on your computer screen. been translated
If you’re having problems with a to just three
value sketch and can’t judge whether values to create
the subject is reading clearly, try step- a strong, simple
ping back several feet and squinting. composition. You
can and should
If you can’t tell what the sketch is use your artistic
depicting, or if too many similar license where
values are merging together, causing necessary to
the subject to get lost, continue work- clean up chaos.
ing with the shapes and values until Detail can be
the sketch reads more deinitively. added later
during the
It’s not always a simple process, but painting stage.
it’s necessary to work out this founda-
tion stage before moving on to color.
64 Watercolor artist | APRIL 2018

TRANSLATING A SUBJECT
INTO A VALUE SKETCH
Squint at the pear photo and notice
how the light background in the
upper-left corner is almost the same
value as the yellow light-struck part
THE TRICK PEAR
of the pear. his needs to be worked I call this photo
out in the value sketch. Should they “the trick pear,”
be kept the same value, or should a because my
darker value be assigned to the back- workshop students
ground? At what point should the get hung up on the
light value of the background turn color spots in their
attempts to
into a middle value? Where should simplify. Some of
the line of demarcation be placed them have even
between light and middle? Do they told me that it’s
change along a vertical or diagonal impossible to
axis? What about the spots? If made break it down
dark, will they contribute to or into three values.
detract from the pear shape? hese
are the sorts of questions you should
ask as you design your composition.
Try to work out these issues in a value
sketch rather than in your head.
VARIATIONS OF THE TRICK

PEAR IN THREE VALUES
Here are nine variations for
translating the pear photo
into three values. The first is
what you might create if you
were basing the value
sketch on what you actually
see. If you look at it from a
distance, however, it may
not read as a pear at all. It’s
all about creating an image
that works, not replicating
exactly what’s there. Squint
at the sketches, or view
them at arm’s length, or
both. Which one best reads
as a pear? There’s no
absolute answer, only
opinions. When creating a
value sketch, try different
variations to determine your
preference for how best
to simplify.
CREATING A VALUE to simplify the composition into a few with visual information that’s being
SKETCH recognizable shapes and values. Be will- iltered through your personal sense of
Making a preliminary three-value ing to veer away from what you actually aesthetics. What do you think looks
sketch before you start painting will see. Change shapes, modify values good? Does it convey your subject
help you see the overall light, middle and anything else you deem necessary clearly? Will it be readable from a dis-
and dark patterns so you can make in the interest of creating order and tance when you squint at it? hese are
decisions about design and composi- organization out of visual chaos. questions you’ll need to ask yourself.
tion. Here are some things to keep in
mind as you make your sketch. Use artistic license. Color won’t save you.
Keep your eraser handy, because Many artists don’t plan ahead and
Mass shapes together. you’ll try out ideas and change your just start painting what they see in
Create one or even several value mind often. his is a natural part of the hopes that color will save the day.
sketches of your subject matter and try the design process. You’re working I don’t recommend this, however. In
fact, there’s a popular saying, “Color
gets all the credit, but value does all
the work.”
If you work out your composition
as you paint, making changes and
revisions with hues, values, shapes
and placement, your colors will
become overworked and muddy.
hese colors are the result of changing
your mind so many times that they
all start to blend into gray-brown.
Having a game plan for value organi-
zation is not only the key to strong
compositions—it’s also one of the
keys to cleaner colors.
ORGANIZE AND
SIMPLIFY
There’s a fair
amount of
complexity in this
scene, but a quick
value sketch—no
more than 15
minutes at 4x5
inches—captures
everything you
need to move to
the painting phase.

FOLLOW YOUR PLAN
When you’ve completed one or more sketches, decide
which composition you like best and move forward with
the painting. When mixing your colors, make certain they
correspond to your value plan. Keep your value sketch
in plain view while painting so you can refer to it and
ensure you’re following your plan and sticking with your
earlier decisions.
Having a value “map” in front of you will allow you to
loosen up and paint with more conidence. You’ll have laid
the groundwork for a strong foundation upon which the
painting will rest. WA
Patti Mollica (pattimollica.com) is a popular painter, author and

Golden Paints certified teacher from Nyack, N.Y. She’s known
for her fearless use of color and expressive brushwork while still
blending a delicate balance between impressionism, abstraction
and realism. She has written four books about painting and has
recorded three instructional videos for ArtistsNetwork.com/tv.
Her work is represented in several galleries and is included in
private collections throughout the United States.
Once I simplify the values into a design I like, I often translate it into
A SHIFT IN THE LANDSCAPE a color scheme of my choosing. For Syracuse Barn (acrylic, 8x8),
In the value sketch above, I’ve translated and I selected a tetrad color scheme of violet, blue, yellow and orange.
simplified the bucolic landscape (top) to a handful of
values. You can see that I’ve made significant
changes to the overall composition and its elements. Excerpted from How to
I felt that the background hills merged with the Paint Fast, Loose and Bold
large tree, so I changed the angle of the hills to a (North Light Books, 2018)
diagonal and lowered it to emphasize and separate by Patti Mollica. Available
the tree. I thought the ravine in the foreground looked at artistsnetwork.com/
like a stripe and broke up the composition, so I unified store and wherever
the whole lower area into one shape and value. Your books are sold.
decisions about the same landscape might differ
completely. There’s no right or wrong path; it’s all
about artistic preferences and vision.
artist’s marketplace
Check out the
FLORIDA WATERCOLOR Robbie Laird
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Ohio Watercolor Society
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ArtCenter Manatee: Sept 7-Oct 26 OREGON October 8-12, 2018
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folkschool.org 1-800-FOLK-SCH
BRASSTOWN NORTH CAROLINA FLORIDAWATERCOLORSOCIETY.ORG www.RobbieLaird.com
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PRIZES
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The 13 winning artists will be published in the December 2018 issue of

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EARLY-BIRD DEADLINE: JUNE 15, 2018
Visit www.southwestart.com for complete guidelines and to enter today!
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................................................................ 69 Robert Burridge Studio.............................71
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Jan Sitts .................................................... 69 San Diego Watercolor Society............... 69
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WATERCOLOR WORKSHOPS
Birgit
O’Connor Jan Sitts
Watercolor Mixed Media
Workshops
Free
Online Course
St. Simons GA, April 30-May 3 Petoskey MI, July 30-Aug 2 Workshops
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CALL FOR ENTRIES NorthStar Watermedia Society National Juried Exhibition 9/19-9/21/18, Nipomo. Central Coast WS.
September 10 - October 18, 2018, Twin Cities, MN. $4,000 Contact: Jerry Smith, jsmithp38@sbcglobal.net
DEADLINE: BI-MONTHLY minimum in cash and prizes ($8,500+ in 2017). Up to three Jan Sitts
Ivory and Lead Online Artist Competition is for artists entries/artist, $40 members; $50 non-members. 6/8-6/11/18, San Clemente. San Clemente Art Supply.
working in traditional 2D media. Contests run bi-monthly with Watermedia only. Information and prospectus at Contact: Heather, 949/369-6603
a grand prize of $1,000 and many other prizes totaling nearly northstarwatermedia.com or callforentry.org
$3,000. One-time registration fee of $25 and a $15 fee per entry COLORADO
(unlimited). Check out the prospectus, current deadline, and DEADLINE: JULY 2, 2018 (EARLY-BIRD PRICING)
current juror at IvoryandLead.com Watermedia Showcase. $4,500 in awards and $1,000 Robbie Laird
in material prizes. Plus winning work will be published in 11/6-11/8/18, Colorado Watercolor Society.
DEADLINE: MAY 7, 2018 Watercolor Artist magazine (April 2019). Contact: Terrey Herrod, teamterrey@yahoo.com
38th International Exhibition. The San Diego Watercolor
Society. Exhibition October 1-30, 2018. At least 80% DEADLINE: JULY 15, 2018 FLORIDA
water-based media. Anticipate over $17,000 in cash and The Philadelphia Water Color Society’s 118th Anniversary Jaimie Cordero
merchandise awards. Juror: John Salminen. Prospectus at: International Exhibition of Works on Paper, October 14 - 5/15-5/17/18, Tallahassee. Translucent Light &
www.sdws.org or email: ishowinformation@sdws.org. November 24, 2018, Wayne, PA. Juror of Selection - Alan Wylie. Shadow in Watercolor. 3-Day Workshop.
DEADLINE: JUNE 1, 2018 Judge of Awards - Alvaro Castagnet. Over $8,000 in prizes. Tallahassee Watercolor Society.
The Montana Watercolor Society announces its 36th PWCS accepts the following mediums on paper: Watercolor, Contact: Deborah Morningstar, 850/264-6540
Annual Juried Art Exhibition, Watermedia 2018. Exhibition pastel, charcoal, graphite, colored pencils, gouache, pen/ink, MorningstarDeborah@gmail.com
dates are October 3 - November 2, 2018 at the Bigfork Art & acrylic and hand-pulled prints. On-line submissions accepted For questions regarding workshop contents, contact
Cultural Center in Bigfork, Montana. Juror is Bev Jozwiak. beginning April 1 through July 15, 2018. For prospectus and Jaimie at: 786/303-5293 or email: WDJaimieC@aol.com
Over $5,000 in awards. For Prospectus go to additional info: www.pwcsociety.org
www.montanawatercolorsociety.org or contact
Florida Watercolor Society
Marilyn Holte, 208/939-9325, msholte@gmail.com 9/24-9/27/18, Sarasota. Workshops, Convention, Trade
Show & Annual Exhibition. Thomas Schaller, Architect
DEADLINE: JUNE 2, 2018 WORKSHOPS of Light. Dale Laitinen, Shape Shifting - Making Invisible
Florida Watercolor Society 47th Annual Exhibition, Visible in Nature.
Juror Thomas Schaller. Online Resident Members Only. ALABAMA 9/27/18, Sarasota. Janet Rogers, Gesture Drawing &
ArtCenter Manatee, Bradenton, FL. For members’ prospectus, Painting of Ballerinas. Sue Allen, Bold Abstractions.
visit www.FloridaWatercolorSociety.org Huntsville Museum of Art
5/3-5/6/18, Huntsville. David Dunlop, Contact: www.FloridaWatercolorSociety.org
DEADLINE: JUNE 4, 2018 Natural Elements; Painting with the Masters, Tom Lynch
St. Augustine, Florida. The St. Augustine Art Association Old & New Techniques. 1/7-1/10/19, Boynton Beach.
presents the 9th Annual Nature & Wildlife Exhibition July 21 - 6/1-6/2/18, Huntsville. Alan Shuptrine, Contact: 630/851-2652
August 26, 2018. This juried exhibit features 2D & 3D original Realistic Watercolor Landscapes. Tomlynch@msn.com or www.TomLynch.com
works of fine art depicting the beauty and diversity of the 8/16-8/18/18, Huntsville. Keith Andry,
natural world, incl. landscapes, plants, birds, wildlife, etc. All Strong Design & Bold Strokes in Watercolor. GEORGIA
media. No giclees. $5,000 in awards; $2,000 top prize. Entry
fee: $45 for 3 images. Contact 904/824-2310. Apply online
10/18-10/21/18, Huntsville. David Shevlino, Art In The Mountains
Alla Prima Clothed Figure & Portrait Painting. 6/11-6/15/18 and 6/18-6/22/18, Savannah. Charles Reid,
www.staaa.org
11/9-11/11/18, Huntsville. Lian Quan Zhen, Watercolor Painting: Drawing and Painting with Charles Reid.
DEADLINE: JUNE 13, 2018 Let the Colors Paint Themselves. Watercolor - studio. Intermediate to advance painters.
Louisiana: 49th Annual River Road Show. A national juried 11/15-11/17/18, Huntsville. Perry Austin, Contact: Tracy Culbertson, 503/930-4572
exhibition sponsored by Art Guild of Louisiana (formerly Painting the Landscape in Oils. info@artinthemountains.com or
Louisiana Art and Artists’ Guild). Open to all U.S. artists 18+ Contact: Laura E. Smith, Director of Education/Museum www.artinthemountains.com
(except photography or digitally enhanced). Work must Academy, 256/535-4350 x222
be original and created within the last 2 years. Juror: Iain lsmith@hsvmuseum.org or hsvmuseum.org Tony Couch, AWS
Stewart. $40 for first 3 entries (maximum 10). $4,000+ in cash 4/30-5/3/18, St. Simons.
and merchandise awards. Exhibit is September 4-27 at the ARIZONA Contact: 678/513-6676, toncouch@mindspring.com
Louisiana State Archives Gallery, Baton Rouge, LA. Robert Burridge
Prospectus on website; artguildlouisiana.org/river-road-show INDIANA
5/14-5/18/18, Sedona. Contemporary Abstract Figure
Contact: Claudia LeJeune, 225/292-2004 or Painting & Collage. Sedona Arts Center. Art In The Mountains
rrs@artguildlouisiana.org Contact: 888/954-4442 or 928/282-3809 9/13-9/15/18, Indianapolis. Mary Whyte, The Portrait and
DEADLINE: JUNE 15, 2018 http://sedonaartscenter.org/School/Faculty/ The Figure. Watercolor - studio. All levels welcome.
Artistic Excellence. Chance to win $2,000. Plus, winning work robertburridge2.html Contact: Tracy Culbertson, 503/930-4572
will be spotlighted in Southwest Art (December 2018 issue). Jan Sitts info@artinthemountains.com or
All media, styles and subjects accepted. AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL www.artinthemountains.com
DEADLINE: JUNE 28, 2018 POST PROPOSED DATES FOR UPCOMING CLASSES. MASSACHUSETTS
50th Annual Watercolor West International Juried 5/7-5/9/18, Sedona. Sedona Arts Center.
11/5-11/7/18, Sedona. Sedona Arts Center. Birgit O’Connor
Exhibition. Call for Entries. Online only. Juror: Katherine 6/11-6/15/18, Glochester.
Chang Liu. Approximately $20,000 Cash and Merchandise Contact: Debbie, 928/282-3809
Contact: Northeast Art Workshops, 978/729-4970
Awards. Entry Fee for 1-2 entries is $50 Members and $60
Non-Members. Only Transparent Watercolor on Rag Paper.
CALIFORNIA northeastartworkshops.com
Exhibition from October 13 - December 16, 2018. City of Brea Robert Burridge MICHIGAN
Art Gallery, Brea, CA. Visit www.watercolorwest.org for 5/31-6/3/18, Arroyo Grande. Robert Burridge Studio
prospectus and information. Mentor Workshop. Come paint with Bob in his Studio Tony Couch, AWS
(includes individual mentor time, demonstrations and 7/30-8/2/18, Petoskey.
DEADLINE: JULY 1, 2018 personal theme development). 3.5 days Workshop/ Contact: 678/513-6676, toncouch@mindspring.com
Kentucky Watercolor Society’s 41st Aqueous USA Juried Mentor Program, limited to 7 enrollees.
Exhibition. September 6 - November 4, 2018 at Actors Chris Unwin
Contact: Kate@RobertBurridge.com for fees and details. Watercolor Workshop Weekly on Wednesdays.
Theatre, Louisville, KY. Juror: Lian Quan Zhen. Workshop:
September 24-27. Over $10,000 in awards. Prospectus and Tony Couch, AWS West Bloomfield, MI 48322
entry form at kentuckywatercolorsociety.org or email Peggy 5/28-5/30/18, Folsom (Sacramento). Contact: Chris Unwin, 248/624-4902
at kentuckywatercolor@gmail.com Contact: 678/513-6676, toncouch@mindspring.com ChrisUnwin@att.net or www.ChrisUnwin.net
artist’s marketplace
Eric Wiegardt, AWS-DF, NWS 5/16-5/20/18, Christine Ivers. OHIO
6/25-6/28/18, Saginaw. 5/20-5/26/18, Robert Burridge.
5/30-6/3/18, Larisa Aukon. Tony Couch, AWS
Wiegardt’s Painterly Acrylics.
6/3-6/9/18, Laurie Goldstein-Warren. 7/9-7/12/18, Oxford.
Contact: Saginaw Area Watermedia Artists
v.artspirit@icloud.com 6/10-6/16/18, Richard McKinley. Contact: 678/513-6676, toncouch@mindspring.com
6/17-6/23/18, Joel Popadics. Robbie Laird
MISSOURI 6/24-6/30/18, Elizabeth St Hilaire. 8/28-8/31/18, Pepper Pike. Ohio Watercolor Society.
Robert Burridge 7/1-7/7/18, Brenda Swenson.
Contact: Michael McEnroe, mcenroem@aol.com
5/3-5/5/18, Springfield. Loosen Up with Aquamedia Painting. 7/8-7/14/18, Kathyanne White.
Visual Artist Alliance of Springfield. 7/15-7/21/18, Fabio Cembranelli. Tom Lynch
Contact: Suzi Agee, 417/818-4766 7/22-7/28/18, David Dunlop. 10/17-10/20/18, Beavercreek.
suzia@hotmail.com or 7/28-8/1/18, Patti Mollica. Contact: 630/851-2652
http://visartalliance.org/workshops 8/1-8/5/18, Howard Rose. Tomlynch@msn.com or www.TomLynch.com
8/5-8/11/18, Mel Stabin.
NEVADA 9/2-9/8/18, Self-Directed Retreat. OREGON
Tom Lynch 9/9-9/15/18, Lorenzo Chavez. Art In The Mountains
8/13-8/19/19, Reno. 9/16-9/22/18, Judi Betts.
7/23-7/27/18 and 7/30-8/3/18, Bend. Herman Pekel,
Contact: 630/851-2652 Contact: 888/665-0044
info@artworkshops.com or www.artworkshops.com Be Brave and Have Fun. Watercolor- studio and plein air.
Tomlynch@msn.com or www.TomLynch.com All levels welcome.
NEW JERSEY NORTH CAROLINA 8/6-8/10/18, Bend. Fabio Cembranelli, Intuitive Painting,
Tom Lynch John C. Campbell Folk School Transcending the Subject. Watercolor - studio.
5/15-5/18/18, Manahawkin. 5/6-5/12/18, Teri Jones, Alcohol Inks – Intermediate to advanced.
Contact: 630/851-2652 Mastering the Medium. $630. 8/13-8/17/18, Bend. David Lobenberg, California Vibe.
Tomlynch@msn.com or www.TomLynch.com 6/10-6/16/18, Kathy Chastain, Studio - watercolor. All levels welcome.
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NEW MEXICO 6/24-6/30/18, Carolyn Molder, Watercolor - studio. All levels welcome.
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4/8-4/10/18 and 4/12-4/14/18, Santa Fe. Alvaro Castagnet, 7/6-7/8/18, Teri Jones, Listen, Look, & Learn –
Watercolor - studio. All levels welcome.
The Pillars of Watercolor. Watercolor - plein air. Intermediate An Innovative Approach to Watercolor. $354.
7/15-7/21/18, Suzanne DesLauriers, Mountain Fantasy in Contact: Tracy Culbertson, 503/930-4572
to advanced outdoor painters. info@artinthemountains.com or
5/8-5/10/18, Santa Fe. Mary Whyte, The Best of Watercolor. Watercolor (Intergenerational). $630.
7/22-7/27/18, Jane Voorhees, www.artinthemountains.com
Watercolor - studio. All levels welcome.
Contact: Tracy Culbertson, 503/930-4572 Small- scale Watercolor for Beginners. $564. Robbie Laird
info@artinthemountains.com or Contact: John C. Campbell Folk School 10/8-10/12/18, Salem. Watercolor Society of Oregon
www.artinthemountains.com Brasstown, NC 800-FOLK-SCH or www.folkschool.org Contact: Beth Verheyden, vstudios@comcast.net
Kanuga Eric Wiegardt, AWS-DF, NWS
NEW YORK 3/30-4/5/19, Hendersonville. Keiko Tanabe, Jonathan Talbot,
Robert Burridge Iain Stewart, Michael Pearson, Aline Ordman, Judy Morris, 5/16-5/19/18, Portland.
5/21-5/26/18, Greenville. Abstract Acrylic Painting & Collage. Mark Mehaffey, Stephanie Goldman, Ken Goldman, Joan Wiegardt’s Painterly Watercolors.
Hudson River Valley Art Workshop, NY. Fullerton, Amy D’Apice. Contact: Oregon Society of Arts
Contact: Kim LaPolla, 518/966-5219 or 888/665-0044 Contact: Chris & Barbara Hutchison oregonsa@gmail.com
www.artworkshops.com/art-workshop-instructors/ kanugaww@gmail.com or
robert_burridge_2018.htm www.KanugaWatermediaWorkshops.com TENNESSEE
Hudson River Valley Art Workshops Tom Lynch Tom Lynch
4/22-4/28/18, Margaret Dyer. 11/8-11/10/18, Raleigh. 6/5-6/8/18, Cookeville.
4/29-5/5/18, Christine Camilleri. Contact: 630/851-2652 Contact: 630/851-2652
5/6-5/12/18, Peter Fiore. Tomlynch@msn.com or www.TomLynch.com Tomlynch@msn.com or www.TomLynch.com

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artworkshops.com
TEXAS
Tom Lynch
9/6-9/9/18, New Braunfels.
Contact: 630/851-2652
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Jan Sitts
10/1-10/4/18, Granbury. Lake Granbury Art Association.
Contact: Diana, 817/326-5629 or 817/578-1842 Tomlynch@msn.com 630-851-2652
VERMONT www.tomlynch.com
Tom Lynch 2018-19 WORKSHOPS
7/24-7/25/18, Burlington.
Contact: 630/851-2652 April 30 – May 4 Fredericksburg, VA
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Tom Lynch July 13 – 16 Conception Bay, Canada
4/30-5/4/18, Fredericksburg. July 18 – 21 Conception Bay, Canada
Contact: 630/851-2652
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September 6 – 9 New Braunfels, TX
WASHINGTON
September 25 – 28 Clarkston, WA
Tony Couch, AWS
8/27-8/30/18, Anacortes. October 17 – 20 Beavercreek, OH
Contact: 678/513-6676, toncouch@mindspring.com November 8 – 10 Raleigh, NC
Tom Lynch January 7 – 10 Boynton Beach, FL
9/25-9/28/18, Clarkston. February 9 – 16 Puerto Vallarta, Mexico
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com August 13 – 19 Reno, NV
Birgit O’Connor
10/16-10/19/18, Spokane. Available For Workshops In Your Area
SSW Spokane Watercolor Society.
Contact: Carol Grabowski
carol_grabowski@comcast.net
Jan Sitts
9/6-9/9/18, Coupeville.
Contact: Lisa, 360/678-7420
Pacific NorthWest Art School.
Eric Wiegardt, AWS-DF, NWS
5/7-5/11/18, Long Beach Peninsula.
Wiegardt’s Painterly Watercolors. Visit www.ArtAcademyLive.com
7/9-7/13/18, Long Beach Peninsula. Your Online Source For
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Contact: Wiegardt Studio Gallery, 360/665-5976 Art Instruction 24/7
watercolors@ericwiegardt.com
WISCONSIN
Robert Burridge
6/10-6/16/18, Lac du Flambeau. Loosen Up with Aquamedia
Painting. Dillman’s Arts Workshop Retreat.
Workshop DVDs
Contact: 715/588-3143, vacations@dillmans.com or
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Tony Couch, AWS
9/17-9/21/18, Lac du Flambeau.
Contact: 678/513-6676, toncouch@mindspring.com
INTERNATIONAL
AUSTRALIA
Art In The Mountains
1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New
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Tom Lynch
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7/18-7/21/18, Conception Bay. ROBERT BURRIDGE
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EUROPE
• Burridge Studio App
Art In The Mountains
10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to
• Free Online Newsletter
New Orleans. Painting days are ‘at sea’ days only.
Contact: Tracy Culbertson, 503/930-4572
• Free Weekly BobBlast
info@artinthemountains.com or
www.artinthemountains.com • Current Workshop Schedule All Dressed Up and No Place to Go
GERMANY
Eric Wiegardt, AWS-DF, NWS
• Workshops in Bob's Studio Bev Jozwiak, AWS, NWS
9/15-9/29/18, Lake Constance, Friedrichshafen. See Video Clips
Plein Air Workshop. of the above artist & Video Clips of
Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com Chris Unwin, NWS
Nita Engle, AWS
MEXICO Soon Warren, AWS, NWS
Tom Lynch Alexis Lavine, NWS
2/9-2/16/18, Puerto Vallarta.
Contact: 630/851-2652
RobertBurridge.com
WWW. ChrisUnwin.NET
Open Book
Everyday Beauty
“My watercolors don’t hang on walls,” says
Danny Gregory (dannygregory.com). “They’re
just a diary—a sketchbook filled with the things
of everyday life. My living room. My lunch. My
dirty laundry. Painting my boring old life reminds
me that beauty can be found everywhere! I made
this sketch with Dr. Ph. Martin’s Radiant Concentrated
watercolors. Vivid, intense—but not lightfast.
Perfect for the dark safety of my sketchbook.”
YOUR TURN!
What does your everyday life look like in sketch form?
@ArtistsNetwork on Instagram. #everywatercolor
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9 WATERMEDIA WINNERS REVEALED

OUT AFTER DARK

• Colors by nature: uses organic pigments when available

• Paint louder with rich, intense, bold, lively colors

• Exceptional solvency: revitalize colors with a damp brush

• All colors certiﬁed AP non-toxic

• Over 100 colors! Start experiencing the Mission Gold

72 OPEN BOOK ON THE COVER

2 Watercolor artist | JUNE 2018

t he Great Pyramid of Giza. he

CONTENT STRATEGIST, FINE ART GROUP Michael Gormley

The sky is the daily bread

Printed in the USA

Watercolor Artist magazine is a egistered trademark of F+W.

4 Watercolor artist | JUNE 2018

©2018 Golden Artist Colors, Inc., New Berlin, NY 13411

/ MAKING A SPLASH / ABOVE RIGHT

6 Watercolor artist | JUNE 2018

Paint Watercolor Flowers [$25]

Join Gordon MacKenzie

Point of View (demo

SOMETIMES Unlike the paints you’re using now, QoR Watercolors

LESS CAN Arabic. Our patented formula helps you make

BE A LOT In developing QoR, we wanted to make a better

©2017 Golden Artist Colors, Inc., New Berlin, NY 13411

8 Watercolor artist | JUNE 2018

Including a mix of the Albertina’s own collection and loaned

paintings and floral works comprise the rich motivic repertoire

y ou never know when life is

10 Watercolor artist | JUNE 2018

I painted That Old

Brusho has been used in Europe I placed a water

12 Watercolor artist | JUNE 2018

Turn page to see the ﬁnish

14 Watercolor artist | JUNE 2018

Venetian The artist laid in the

b est known for his bravura

16 Watercolor artist | JUNE 2018

In a passage just right of center, a series of Sargent understood linear perspective.

Tool Kit Basics

22 Watercolor artist | J UNE 2018

In sky A, you can see the color change—from pink

THE COLORS 7½x11), I captured the overcast sky,

OF THE EARTH of the sky has a big impact, because

24 Watercolor artist | JUNE 2018

The colors I used for the path in

In Ireland Shore (watercolor on paper, 7½x11), the sea is active,

28 Watercolor artist | JUNE 2018

nearly always play

he Native Americans have an

32 Watercolor artist | JUNE 2018

34 Watercolor artist | JUNE 2018

Watercolor Meets Pastel

36 Watercolor artist | JUNE 2018

r on Stocke (ronstocke.com) has

Artist RON STOCKE enjoys painting on

38 Watercolor artist | JUNE 2018

Brushes: Both natural and synthetic. “I usually

Palette: Stocke uses the same palette whether

Miscellaneous: A collapsible water container,

On Planning for the Light

42 Watercolor artist | JUNE 2018

Peony (watercolor brushstrokes that depict the complexity of the

students own a good rigger brush for dragging long